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b. 13
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composition: Op. 2, Variations, complete
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In this context – the beginning of a phrase – both notations of the beginning of a trill mean the same thing. When preparing the Variations for printing, Chopin chose a simpler notation. category imprint: Differences between sources; Corrections & alterations |
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b. 13-14
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composition: Op. 2, Variations, complete
category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 14
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composition: Op. 2, Variations, complete
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The b2 note, provided with a ten., is prolonged to a crotchet in A (→GE→FE,EE). It seems to be Chopin's mistake, since such a long value would have to be held also at the beginning of the 2nd half of the bar, which would certainly be a mistake. To avoid doubts, we change it to a quaver, almost exactly corresponding to its actual length. The fact that FESB omitted that extension could have resulted from that erroneous notation, with which the engraver did not know what to do. category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of A , FE revisions |
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b. 14
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composition: Op. 2, Variations, complete
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It is difficult to evaluate the authenticity of the version of GE (→FE,EE), featuring only one R.H. slur in this bar. The longer slur of A, not included in the editions, does not seem to be a part of an irregular group marking, since it goes beyond it, to the c3-c4 octave. Therefore, it should be assumed that it concerns phrasing/articulation; when omitted, it impacts the articulation of the last five demisemiquavers, particularly if we take into account the change of dots to wedges, also performed in GE. On the other hand, upon seeing GE, Chopin could have considered one slur to be enough and the markings as a whole to be acceptable. In this situation, we regard both sets of markings (dots under a slur or wedges) as more or less equal, keeping in the main text the version of the principal source, i.e. A. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE , Revisions in FESB |
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b. 14
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composition: Op. 2, Variations, complete
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As was the case with b. 10, the change of dots to wedges in GE (→FE,EE) does not seem to have been inspired by Chopin; however, he could have accepted it – cf. the note on slurs at the beginning of this bar. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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